FREE music lessons from Berklee College of Music Reharmonization Techniques Randy Felts

FREE music lessons from
Berklee College of Music
Reharmonization Techniques
Randy Felts
Chapter 10
Basic Piano Voicing Techniques
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10
Basic Piano
Voicing Techniques
Understanding the basics of piano voicings and the use of common tensions is a first step
in creating effective orchestrations of reharmonized melodies.
Chord Tones
To create effective voicings for various chord qualities, be sure to follow these guidelines:
1. Include the root of the chord in the voicing (assuming solo piano with no bass
player).
2. Include the basic chord sound.
Chord Type
Triads
Sixth chords
Seventh chords
Dominant 7sus4
Minor 7(%5)
Augmented seventh
Diminished seventh
Basic Chord Sound
(Chord Tones)
3, 5
3, 6
3, 7
4, 7
%3, %5, %7
3, #5, %7
%3, %5, ”7
For seventh chords, the basic chord sound consists of chord tones 1, 3, and 7. For sixth
chords, the basic chord sound consists of chord tones 1, 3, and 6. The third determines
whether the chord is of major or minor quality and the seventh (or sixth) determines the
chord function. The flat seventh gives the chord a dominant function, while a major
seventh yields a tonic or subdominant function. Chord tone 5 is not considered part of
the basic chord sound unless it has been raised or lowered (altered), or is part of a triad.
Altered fifths are always considered part of the basic chord sound.
For best results, the basic chord sound (3 and 7) should be placed, or voiced, within
the following range:
Fig. 10.1. Recommended range for voicing chord tones 3 and 7
95
basic piano voicing techniques
The following voicings illustrate the correct placement of basic chord sound for common
chord types:
F
F–7
F–
F7
F–6
F 7
F6
F–7( 5)
FMaj7
F+7
Fig. 10.2. Recommended chord voicings for various chord types
Voice Leading
Following voice leading principles will improve the sound of a progression. Voice leading
connects notes smoothly from chord to chord with a blended, textural sound. It also
makes the voicings easier to play on a keyboard.
Traditional voice leading focuses on the resolution of tendency tones and avoidance of
such intervals as parallel fifths, octaves, and certain doublings of pitches within chords.
Following voice leading rules will lend a recognizable stylistic sound and chord texture.
Current jazz and pop composers are less concerned with traditional voice leading rules,
but still strive for balanced note spacing and reasonably smooth connection from one
chord to the next. The following guidelines will help you create voice leading that is
consistent with jazz/pop voicing practices.
1. Determine the basic chord sound for each chord.
2. If the root motion moves by perfect fourth or perfect fifth, resolve chord tone 3
in the first chord to chord tone 7 of the second, and chord tone 7 in the first
chord to 3 in the second, as shown in the following examples. These
resolutions produce a clear harmonic texture and minimize finger movement
from chord to chord.
96
CMaj7
(3)
F –7
( 7)
B7
(3)
(7)
( 3)
( 7)
E–7
A7
D–7
G7
CMaj7
Fig. 10.3. Correct resolutions for chord tones 3 and 7
3. If root motion moves by unison or second, move the voices in parallel motion.
Parallel motion means that all voices move up or down by a similar amount. In
the example below, D–7 to E–7 finds all voices moving up in diatonic seconds.
(Roll over Beethoven!)
Optional: Change the octave position of the root while other parts move in parallel
motion. For example, see the movement of E–7 to FMaj7 between measures 2 and 3
below.
CMaj7
C
7
D–7
E–7
FMaj7
A–7
D–7
D Maj7
CMaj7
Fig. 10.4. Correct resolutions when voices move in diatonic seconds
4. If roots move by third or sixth, use either parallel or contrary motion between
the roots and the upper voices. Contrary motion means that voices move in
opposite directions: the bass note moves down, while all other voices move
up.
FMaj7
D–7
B Maj7 G–7
FMaj7
Contrary motion between roots and upper voices
FMaj7
D–7
B Maj7
G–7
FMaj7
Parallel motion between roots and upper voices
Fig. 10.5. Correct resolutions when roots move by third or sixth
97
basic piano voicing techniques
5. If the basic chord sound appears to be heading out of range as the
progression is voice-led, change the inversion of chord tones within the
duration of a single chord and then continue voice leading normally into the
next chord. Note that the roots of the chords are not included in the inversion
shifts.
C–7
F7
B –7
C–7
Voice leading moving out of range between
F7 and B –7. The third of the B –7 chord is
now too low for a clear voicing.
F7
B –7
Range problem is corrected by changing the inversion
of the upper chord tones within the duration of F7,
then voice leading normally to B –7.
Fig. 10.6. Inversions help keep a progression within range
Voice Leading With Tensions
It is common for jazz-style piano voicings to contain additional tensions along with the
basic chord tones. The following example shows available tensions placed above the
basic chord sound.
G# on F#–7(9) and G# on B7(13) are available as tensions on these individual chords,
though they are not diatonic to the key, C major. Be sure to include nondiatonic tensions
in the chord symbol. Labeling for available tensions that are diatonic to the key is not
necessary. In the following examples only nondiatonic tensions are indicated in the chord
symbols, even though diatonic tensions are also being used.
CMaj7
F –7(9)
B7(13)
E–7
A7
D–7
G7
CMaj7
Fig. 10.7. Nondiatonic tensions added to chord voicing symbols above the top note of the three-part voicing
98
CMaj7
F –7(9)
B7(13,9)
E–7
A7
D–7
G7
CMaj7
Fig. 10.8. Tensions added between notes of the basic chord sound
The last example shows an additional tension placed a whole or a half step below the
basic chord sound. It is generally good practice to keep all tensions above
the F found on the fourth line of the bass clef in order to avoid a muddy
sound.
CMaj7
F –7(9)
B7(13,9)
E–7(9)
A7(13)
D–7
G7
CMaj7
Fig. 10.9. Tensions added below basic chord sound in second and third measures
Voice Leading of Inversions
Inverted chord structures should include all chord tones and use no more than one octave
between adjacent voices. The only exception is the distance between the lowest two
voices. If you are striving for a traditional texture, do not double the bass note when it is
the third or the seventh of the chord. In the following examples, the “x” indicates chord
voicings that would be inappropriate in a traditional context. The checkmark indicates
chord voicings that would work well.
C/E
C/E
x
3rd doubled
C/G
x
10th spacing on top
C7/B
C7/B
C7/B
x
7th doubled
Fig. 10.10. Voicings of inverted chords
99
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